Jonathan Hodge - Short+Sweet
Last year, Short+Sweet hit Auckland for the first time. This year, the festival of 10 minute plays promises an even juicier feast of dramatic writing and parading thespians.
Festival director Jonathan Hodge talks to Renee Liang about what's involved in putting on 40 plays in two weeks.
“The thing that gets me is the huge variety and the fact that if something is not to your taste … the next play is only nine minutes away!”
* * *
For those unfamiliar with the concept Short+Sweet, it’s a festival of 10 minute plays – not extracts, but each a complete play in itself. Because of the number of plays performed, there’s huge variety of styles, and large numbers of actors, writers, directors and production crew take part. For those new to the game, it’s an ideal way of testing out their suitability for theatre and work with more experienced people.
The concept started in Australia and has now spread to a number of countries, becoming in the process “the largest festival of ten-minute plays in the world.” There’s an international flavour to the event - many of the plays are by overseas writers – but in the Auckland version, there’s also an emphasis on showcasing home grown work.
- Jonathan Hodge on Short+Sweet Auckland, interviewed by Renee Liang.
How did you get involved with Short+Sweet?
In early 2009 I was contacted by Sally Barnett from STAMP who told me that S+S Australia were looking for someone to run a iteration of the Festival here in Auckland. At that stage I knew little or nothing about S+S but it sounded like an interesting idea.
So I signed on and went on the journey to creating the first iteration in Jan 2010. I was mentored by Alex Broun who had run a lot of festivals in Aussie and while it took a while I finally figured out how it all worked.
This time round it's just me (with my awesome production team) flying solo and really trying to take the tried and true system and make it work for us here in Auckland. It's funny but it is much more than it looks. Ten minute plays are Short+Sweet but running the festival is much more complex. It's fun though!
Why did you want to bring it to Auckland?
I see Short+Sweet as primarily a development exercise, for practitioners and audience alike. I think it's needed for the burgeoning Auckland theatre community.
The short film has long been recognised as a calling card for new directors, a way to get noticed and a place to try new ideas. I see S+S as much the same for the theatre. Experienced directors can experiment with a different form in a supportive environment, experienced actors can try their hand at directing and practitioners with little or no experience get a chance to have a go where people can see them work.
Also with the people's choice component we ask audiences to tell us what their favourite play of each session. This means that they have to consider what they've watched, discuss, debate and make judgements. I think this is great because in order to develop a robust scene we also need good audiences who think about the work. Intelligent audiences make room for more fringe and cutting edge theatre and like any field the edges are where the new ground is broken and the future created.
Who’s been instrumental in making it happen?
Short+Sweet Auckland would never have happened at all without the S+S parent body in Australia. Despite a healthy (and very Australian) desire to take over the world with short plays, S+S Australia is not a well resourced, massive conglomerate. Their support has cost them time and money and is essentially an act of charity.
Sally Barnett and the STAMP crew at The EDGE are also essential. The festival would not be viable without their support. Venues, marketing, expertise and mentoring (which I am most grateful for) are just the thin end of the wedge. STAMP is supported by the Auckland Council, who have also directly invested in the future of S+S Auckland this year.
In the first festival we would not have even had enough plays without the help and contacts of The Oryza Foundation for Asian Performing Arts. Then there is the support of Playmarket this year who are helping us reward a NZ playwright and contributing to the judging of the festival.
My production team consists of Sums Selvarajan (Stage Manager)with her team of helpers and Michael Craven (lighting designer). But most important of all are the participants who make up the plays – without them there is no festival.
How is the Auckland S+S different to others around the world?
Short+Sweet is based on a very successful formula and we try to stay with what works. The variation in each iteration comes from the plays and participants.
That said there are some things that make S+S Auckland unlike festivals elsewhere. In Auckland we put a premium on NZ scripts. When I assemble the shortlist from the huge number of submitted and carefully assessed works I aim to have at least 50 percent of that made of NZ works.
Add to that the local Independent Theatre Companies who bring a ready made work and over 50 percent of the plays in the festival this year will be from NZ.
We do keep an overseas content because variety is the spice of life and there are some very good plays submitted from all over the world.
What are some of the 'success stories' from last year?
Last year the season featured a play by Angie Farrow called Lifetime which made the Gala final in Sydney (from 160 plays!) and also won in Singapore. A play by Garrick Burn called Finis was also included in multiple festivals world wide. Both these playwrights have works in this year's program.
Our best Actor last year, Mark Scott, returns this year in a wildcard play called Misguided Tour which is set to be quite exciting.
Is there much that’s different this year (compared to last year?)
As I've said its a solid formula but the kiwi content is up this year on last year. There are many new faces about but it’s nice to see a few return to the fold. I expect that every year will be a little bit different with new plays and new people but its always going to be the same dependable, exciting S+S experience.
Why are people attracted to the short play format?
I think that short plays deal well with an idea – a single idea. Thus they are very accessible. The form encourages humour to keep an audience engaged so the night's usually a lot of fun.
The thing that gets me is the huge variety and the fact that if something is not to your taste … the next play is only nine minutes away!
What plays are you particularly excited about?
I'm interested in a play called Roach Blues that is being directed by Kiel McNaughton. The play really appealed to me when I was making up the shortlist. Another favourite is the slightly absurd Because the World Needs Unicorns which is in the hands of Eyrn Wilson.
Who will you be watching?
I'll be seeing them all! And not just cause it’s my job! There will be a new piece directed by Giovanni Fusetti, an extremely revered teacher of clowning, The work of Mark Scott as I mentioned before, some physical experimentation from the exciting Eve Gordon and Mike Edward, and also Rachael Blampied will be working hard on a great play called Lithium Kiss with a superb female part. Also the Outfit are back and threatening to tear the building down so bring your safety gear to that show.
Do you see S+S happening in other centres in NZ?
We've had some discussions about this and we are keen to set it up in time. At the moment the goal is to get Auckland solid and well run. Then maybe expansion?
I can tell you however that there will very likely be a Short+Sweet Dance iteration run in Auckland in the near future so keep those eyes open!!!
Futher information:
Tuesday 5 - Sunday 17 July
Herald Theatre, Aotea Centre
